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Cool interview. But wasn’t “Nightmare Before Christmas” what caused the rift between Elfman and Burton until 1996? He says it was his favorite experience in this one.
Any idea what the music at the trailer’s beginning is? Sounds awfully Elfman.
This trailer didn’t do too much for me. The knowledge that they are in fact redoing the origin story is disappointing, and the money shot POV was pretty weak visually. Here’s hoping it was just used for the teaser and won’t actually be in the film. Has there been any word as to who’s scoring this film?
I’m pretty sure I heard fanfare variations of his theme during the aforementioned portions of those films. They were my ringtone for a while.
On the contrary, I think the Elfman Spider-Man theme was very well defined and highly versatile. It could be used in bombastic fanfare or reverent quiet cues. It was accompanied by the aforementioned good score, which is why it ranks so highly on my list of Elfman scores.
I wouldn’t be very happy with Alexandre Desplat scoring, as I haven’t heard a score of his that I’ve listened to more than once. Zimmer’s a bit too erratic to be content with, although I’m sure he’d do something interesting. Ottman or Howard could do well. Heck, I’d even love to hear a sweeping James Horner score.
I’d be game for Giacchino, who I think is one of the best working composers today. What about John Powell? His work has been incredible lately. Whoever it is, I hope they create the thematic score that Spidey deserves, and not some droning ambient music. And PLEASE don’t let the cartoon theme sneak its way in.
It’s guaranteed that Elfman won’t be anywhere near this project, but can anyone think of other composers you’d like to score this film? Elfman’s “Spider-Man” scores are my favorites of his (in fact, they introduced me to him in the first place), but I’m curious to hear what the new composer will come up with.
It’s true, based on what I heard from someone I work with who’s involved with the production. Sounds like a strange choice to me.
Congrats to Danny for the recognition, but John Powell’s “How to Train Your Dragon” got no love? That was one of my favorites this year.
I don’t understand… the album cover says “Music Composed and Conducted by Danny Elfman,” but the credits list Rick Wentworth as the conductor. Danny doesn’t usually conduct… what’s going on?
Ah, the forum search parameters I placed did not go back to March. Anyway, this movie’s just been bought by Fox (rather enthusiastically) and Timur’s definitely directing with a $69 million budget.
If not this, then what about “World War Z,” which Marc Forster’s been attached to direct? He seems the type of creative director that Elfman would like to work with.
Sad times, I was really looking forward to this one. And I’m not a big Paul Haggis fan. Well, JNH is great, so he’ll probably deliver well.
I believe “Edward Scissorhands” was used as a temp score for the opening of the horrendous original film. Del toro’s not directing this one apparently, just producing and writing so far, so maybe Elfman’s got a pretty good shot!
I managed to listen to the entire score, and it’s not bad. There’s a pretty good main theme that each of the composers is able to work into their individual cues. Danny’s feels a lot like a throwback to “Wanted” and I recall it fitting seamlessly into the movie itself. Actually, two of Henry Jackman’s tracks have a distinctly Elfman flavor about them. The other composers do a fairly good job blending styles while maintaining relevant uniformity. Marius Vries has the highlight with “Flying Home” but also loses points with his clearly-derived-from-a-Batman-Begins-temp-track “The Fight”.
I had thought that David Arnold was scoring that film, but that doesn’t appear to be the case. Elfman for Scott Pilgrim! He ought to establish a working relationship with Edgar Wright, one of the most creative filmmakers working today. Cool guy, too.
Wow, I remember “Adiemus” from the “Pure Moods” album that was constantly advertised the 90s… yes, I had it too. That one was always one of my favorite tracks.
But I don’t really hear how Horner stole anything from it. For one, the theme from “Mighty Joe Young” doesn’t sound very much like “Adiemus”. If anything, it has some similar orchestration. And the vocal styling predates “Adiemus”, like with Lebo M’s arrangements on Hans Zimmer’s 1994 “The Lion King” score. “Avatar” certainly delves into a lot of James Horner territory (the main theme sounds so very close to “Titanic”, he utilizes his four-note “danger motif”, the final battle sounds fairly close to “Glory”, etc.) but to me it has a great deal of originality and is still an enjoyable listen.
Wow, I finally know how the folks overseas feel when they’re denied an American release of… well, anything. That score album’s pretty good, actually. I remember being very impressed with the score when I was watching the film.
And yet another project that showcases Hollywood’s desire to be safe and go with established franchises. Didn’t “Avatar” teach them anything? Original movies CAN make money!
You pretty much had to have watched or recorded the original broadcast on Wednesday night, because they’re not re-airing the episode on TV and they’re not posting it online. It had a good conclusion, despite the fact that Comedy Central bleeped practically half the episode (which was not a joke by the creators — that was all the network’s doing).
